<P>Over the past twenty-five years, Italy's film industry has produced a remarkable number of award-winning international art-house hits, among them <I>Cinema Paradiso</I> and <I>Life Is Beautiful</I>. Despite these successes, Italian cinema is in a state of crisis: ticket sales for domestic films, which plummeted in the l980's, are only now beginning to recover; television deregulation has engendered a popular culture largely dependent on American programming; and the passing of an entire generation of brilliant auteurs—Rossellini, Viscounti, Pasolini, Antonioni, and Fellini—extinguished the revolutionary impulse which had characterized Italian filmmaking since the Second World War.</P><P>In <I>After Fellini</I>, Millicent Marcus contends that in the late 1980s and 1990s, a new wave of Italian filmmakers has transcended these obstacles and reasserted Italy's importance in world cinema. Through in-depth critiques of such acclaimed films as <I>The Last Emperor</I>, <I>Caro Diario</I>, and <I>Stolen Children</I>, as well as the immensely popular <I>Cinema Paradiso</I> and <I>Life Is Beautiful</I>, Marcus details how today's auteurs have both reflected and resisted Italy's shifting social, political, and cultural identity, and created a body of work that signals a new beginning for Italian cinema.</P>